



































































































































































































































































































































\ 




% 

I 


t 

> 


Copyright, 1882, by COLONEL J. C. KELTON. 
















A WITNESS 

TO THE FAITHFUL EFFORTS OF EXPERT SWORD-MASTERS 
TO INSTRUCT THE CADETS AT THE UNITED STATES MILITARY ACADEMY 
. IN THE ART OF FENCING, 

AND TO THE FUTILITY OF THEIR TOIL AND PATIENCE, 

OWING TO THE 

INADEQUATE MEANS AND METHODS PLACED AT THEIR DISPOSAL BY THE 

GOVERNMENT, THE AUTHOR 
RESPECTFULLY DEDICATES TO THE CORPS OF CADETS 
THIS MANUAL, 

WHICH PRESENTS SOME SUGGESTIONS AND A SIMPLER PRACTICE 
TO AID THEM IN MEETING 

THE JUST EXPECTATIONS OF THE COUNTRY AND OF THEIR INSTRUCTORS 
IN THE IMPORTANT MATTER OF ACQUIRING SKILL 
IN THE USE OF 

THE OLDEST OF WARLIKE WEAPONS. 







“ O! it is excellent 

To have a giant’s strength; but it is tyrannous 
To use it like a giant.” 






PREFACE. 


This treatise on Fencing is submitted to the Army, 
Navy, National Guards, and youth of the United 
States, as containing a full exposition of an art, a 
knowledge of which, if no longer indispensable or even 
necessary to the defenders of the country, cannot but 
be to them of great advantage. For not only to the 
soldier whose daring should be accompanied by strength 
and skill in the use of weapons of war, but to all who 
wish health, vigor, a graceful deportment, and an ac¬ 
quaintance with an enjoyable exercise easily and inex¬ 
pensively indulged in, the art of Fencing must ever be 
commended. 

Instruction according to the method herein prescribed 
is greatly simplified in this, that it departs from the 
system which to this time has prevailed of having as 
many points of attack as there are parries. Heretofore 
we have had an adversary attacked in. Prime, Seconde, 
Quarte, Quarte over the arm, Tierce, etc.; whereas 
there are really but three places where an opponent 
can be attacked, viz., on the “right” or “left” of his 
weapon above his hand, or below his guard at the 
“ flank ”—whichever is exposed. 

With this simplification the difficulty of deriving a 












PREFACE. 




knowledge of the art of Fencing from written instruc¬ 
tion quite disappears, and classes instructed according 
to this manual with the aid of a master, or individuals 
without such assistance, relying only upon the informa¬ 
tion and directions herein conveyed, will rapidly be¬ 
come 'dever swordsmen and active, graceful men. 

At military posts, at the armories of the National 
Guard, at schools where military instruction is author¬ 
ized, and at athletic club rooms, it will be of great 
advantage to the sword-master to instruct first a class 
of the most active young men, and afterwards oppose 
these, in the lessons, to others who are under instruc¬ 
tion. 

While there are several exercises—Fencing, Foot¬ 
ball, and Polo—which are very necessary for the train¬ 
ing of the future military rifleman, to prepare him 
for the field of combat, Fencing is certainly the most 
important, for it not only develops strength and activ¬ 
ity, but it cultivates the character and gives dignity to 
the bearing of men. 













l 



INTRODUCTION. 


Skill with the sword is practically only of advantage to 
those upon whom falls the duty of the national defence, 
to enable them to use as effectively as, and to the ex¬ 
tent such an antiquated weapon can be used, and which 
they alone are required to wear. But, as the sword 
is no longer generally worn, and is not, ahiong Eng¬ 
lish speaking people, used in dueling, and therefore 
as adroitness in its use can no longer be condemned 
as likely to create a fondness for contention, fencing 
may be, and indeed should generally be resorted to as 
an enjoyable and healthful recreation, and as a certain 
means of physical development. 

While it is undoubtedly true that the sword has 
in this country ceased to be a factor in the problem of 
war, yet the exercise with foils must ever continue of 
importance, and should be encouraged as a means of 
keeping alive warlike instincts and cultivating a mili¬ 
tary sentiment. In this country,—without hereditary 
enemies, the policy of which is guided and its vast 
resources controlled by active, untiring men, indom¬ 
itable in the pursuit of power and wealth, where the 
generation that furnishes the nation’s soldiers is lulled 
into indifference to their duties as national defenders 

S -T < — I' I .. I .. ' | 





•; i --- - > 

iv INTRODUCTION. 

by the opinions which issue from legislative halls and 
pulpits, that wars are unnecessary and it is unnecessary 
to prepare for them,—the fact is nearly lost sight of 
that war appears to be one of the natural processes 
of human advancement and healthy national life; as 
certain to occur periodically in America, from causes 
arising from without or within, as elsewhere; during 
the coming as during the past years. 

For, like epidemics, wars may be expected to con¬ 
tinue to depopulate nations, and chasten and improve 
them till evil conditions and habits and evil deeds 
cease to exist among men. 

And while the sword, once so potent in war, has 
lost its efficacy, and must be laid aside for a more 
powerful weapon, yet the exercise it has given to the 
world will probably long continue to accomplish, better 
than any other known, the important purpose of prepar¬ 
ing the youth of the land for the dread occasions of 
war; so that when national passions rule the hour, the 
national arm may possess adroitness, as well as vigor; 
so that the national mind may not be without those 
warlike sentiments which inspire men to deeds of 
valor. 

As an exercise, fencing with foils is void of danger, 
gives no occasion for rudeness, calls for no over exer¬ 
tion, yet brings into active and graceful play every 
muscle of the body, and demands the eager and un¬ 
remitting attention of every faculty. 

Fencing is disciplinary, inculcating self-control and 




INTRODUCTION. 


courtesy, and while men are enduring the fatigue 
necessary to become strong and skillful fencers, the 
mind becomes imbued with the spirit of knightly 
combat. 

The assault is the rehearsal of the life and death 
struggle which men may be called upon to engage in 
for their country’s honor and welfare, and in its vary¬ 
ing phases calls out all the address, the intense watch¬ 
fulness, wariness and audacity of the contestants. 

The nation, with its young men trained as fencers, 
can never be without ready defenders, men who will 
surely become its enduring support for they will have 
fitted themselves in a most important respect for the 
ordeal of war. 

Therefore while the use of the sword in war has be¬ 
come unimportant, the art of fencing which it brought 
into existence continues of the greatest importance, as 
especially presenting the means of preparing men for 
the hardships to which war will subject them, by 
training their aggressive energies, inculcating self-con¬ 
trol, and quickening their power to originate expedients 
on the field of combat. 















FENCING. 


Combat with the sword is as old as the history of . 
the human race. The Roman soldier was a carefully 
instructed swordsman, but aided by the shield. Fenc¬ 
ing, the art of handling the small sword with skill in 
attack, and to the greatest advantage relying upon it 
as a means of defence, came into use after armor and 
the shield ceased to be worn. 

It was in Italy during the religions wars of Charles 
Y, under conditions of society which rendered life 
particularly insecure, that the small sword or rapier 
was adopted and habitually worn by military and 
state officers, and generally by all men whose position 
in society or whose occupation permitted it. Then 
and there its skillful use was found essential, and 
Fencing at that period, and long subsequently, was 
considered a necessary art. 

The Italians, who were expert fencers, were the in¬ 
structors of the art, first in Spain, and afterwards in 
France, where, during the last century, Fencing was 
brought to the highest perfection. 

The small sword, when once it came into use, was 
adopted as the fairest weapon for dueling. And though 
to the custom of wearing it may be charged the dis¬ 
position to indulge in violence, many desperate en- 





2 


FENCING. • 


“ To fight, 

In a just cause, and for our country’s glory. 

Is the best office of the best men.” 

counters in which innocent persons sometimes suffered, 
and the loss of valuable lives, it must be said that the 
practice of dueling, which had previously been con¬ 
ducted so that every unfair advantage was taken and 
allowed, and, with a revolting display of ferocious pas¬ 
sions, was greatly humanized by the refinement in¬ 
troduced by the rules and art of fencing. 

A distinguished French authority on the art of 
Fencing declares that a swordsman, on crossing blades 
with an antagonist, and before closing in combat, must 
take in at a glance the intellectual and physical powers 
of his adversary, so as to judge of the employment he 
will likely make of them, and decide by the first few 
movements of his weapon if he is a man of nerve, or 
one that may be intimidated or confused; observe on 
the instant if his guard is faulty, and what advantage 
may be taken of it; discover by feints his natural 
parry, and by his attitude and aspect whether his forte 
is the attack or defense; if he will probably rush in, 
trusting all to strength and audacity, and of whose 
attack signal advantage may be taken if anticipated, 
or contend warily with the skill of one accustomed to 
Fencing, and must therefore be attacked with caution. 

This, so true in mortal combat, must be borne in 
mind by fencers to secure the best advantages from 
the use of foils as an exercise. 



























Ft^. Mi ddle ('navel. 







FENCING. 




-f 


“ Beware 

Of entrance to a quarrel; but being in, 

Bear it that the opposer may beware of thee.” 


The Foil 

or small sword consists of two parts, the hilt and blade; 
and the hilt of three pieces, the pommel, the gripe, and 
the guard. 

The part of the blade nearest the guard is the fort. 
The two thirds nearest the point is the feeble. 

The side of the gripe on which the thumb rests 
should be broad, flat and convex, the opposite side 
slightly concave. 

To Hold the Foil or Sword 

in the most advantageous manner, the thumb must be 
extended along the convex side of the handle, and at 
least half an inch from the guard. The fore-finger 
is partially extended on the under side, the middle 
portion opposite the thumb. The remaining fingers 
embrace lightly the side of the handle. At the 
moment of making a blow or parry, the handle is 
firmly grasped, but to hold it so constantly would soon 
fatigue and paralyze the hand. 

Attention 

is the position Fencers assume when they first oppose 
each other, before crossing weapons or placing them¬ 
selves “On Guard.” 











FENCING. 


5 


“War, my lord. 

Is of eternal use to human kind. 

For ever and anon when you have pass’d 
A few dull years in peace and propagation. 

The world is overstocked with fools, and wants 
A pestilence at least, if not a hero.” 

the right leg. The right foot should point directly to 
the front, and the knees be flared apart. 

The sword-hand is at the same time raised to the 
height of the breast, and the point of the weapon is 
presented to the front; the right arm is extended till 
it is half bent, the elbow about six inches in front of 
the side and turned in towards the body, the hand at 
the height of and opposite the right nipple, the nails 
turned up, the thumb horizontal, the back to the right. 
The point of the blade should be at the height and in 
front of the eyes. 

The handle of the foil is felt lightly by the second, 
third, and fourth fingers, the thumb and first finger 
enclose it without grasping it tightly. 

The left hand is extended to the rear and a few 
inches higher than the head, the elbow is slightly 
bent, the hand open, palm to the front. The arm, 
from the shoulder to the end of the fingers, forms a 
curve. 

The reverse of this position is true for left-handed 
men. 

The important conditions of a fine guard are that 
the right arm should be nearly half bent and extended 
to the front, so that the elbow is detached from the 






4 


FENCING. 




“War is honorable 

In those who do their native rights maintain, 
In those whose swords an iron barrier rear 
Between the lawless spoiler and the weak.” 


The body is erect, the eyes are directed to the front, 
the shoulders thrown back. The arms hang by the 
side, the right hand holds the foil with the thumb 
extended, the concave side of the gripe down, the left 
hand grasps lightly the blade in advance of the guard. 
The feet form a right angle, the right toe pointing to 
the front. 

The Guard 

is the attitude a swordsman assumes, best calculated for 
attack and defence. It is the position men naturally 
take when they meet in combat. 

The first and second guards, those which a swords¬ 
man would take if attacked while in the act of drawing 
his weapon, known as the guards of Prime and Seconde, 
and called the hanging guards, though sometimes used 
in the defence with the sabre, are not ordinarily re¬ 
sorted to with the small sword. All instruction with 
this weapon proceeds from the third and fourth guards 
—those of 

Tierce and Quarte . 

The right foot is placed twice its length in front 
of the left, the knees bent equally, the right being 
vertically over the instep. The body should be erect, 
and its weight resting a little more on the left than 













6 FENCING. 


“The sword is the oldest, the most universal, 
the most varied of arms; the only one which 
has lived through time. All peoples knew it; it 
was everywhere regarded as the support of 
courage, the enemy of perfidy, the mark of com¬ 
mand; the companion of authority; the emblem 
of sovereignty, of power, of force, of conquest, 
of fidelity, and of punishment.” 

side, the nails turned up, the back of the thumb 
obliquely to the right, the knees well bent. 

If the right arm is too straight, there will be too 
little force in its extension when making a blow. 

By giving the hand the position indicated, the point 
can be most accurately directed. By bending well the 
knees, the body can be rapidly extended to the front 
in making a blow, and without this quick extension an 
attack can rarely succeed. 

The guard here described is the “ middle guard,” be 
cause in it the weapon occupies a middle position in 
reference to those it assumes in the defense. 

When on Guard it is essential to be covered on the 
side towards which the adversary’s blade points. 

If the hand is carried to the right till it is so nearly 
in front of the right shoulder that the adversary’s 
point, if extended on that side, would not touch, one 
is covered, and the Guard of Tierce is formed; if to 
the left till the hand is sufficiently in front of the left 
breast, to divert the point on that side, the Guard of 
Quarte is formed. The moment blades are crossed, 
one or the other of these guards is formed, and is 
called the engagement. 

& .. .. . i i . & 







FENCING. 


7 




“’Tis hard indeed, if nothing will defend 
Mankind from quarrels but their fatal end; 

That now and then a hero mu9t decease 
That the surviving world may live in peace.” 

Men of small stature should form the guard with 
the hand nearly as high as the neck ; those of medium 
size with the hand as high as the breast; tall men with 
the hand a little below the breast. 

Although the guard should be habitually taken 
according to stature, still it must be varied, for it is 
dangerous not to make the height of the guard cor¬ 
respond with that of one’s adversary. 

The Engagement 

is the act of crossing weapons and bringing them into 
contact. When the right of the blades is in contact, 
the engagement is in Tierce; if the left, the engage¬ 
ment is in Quarte. 

When the hand is turned so as to bring the back up 
and obliquely to the left, and the points lowered and 
brought in contact on the right, and at the height of 
the groin, the engagement is in Seconde. 

These are the only three engagements, and from 
these all blows are made; the last is rarely offered, 
unless from a feeling of superiority, and to provoke an 
attack. 

The Opposition 

is a slight movement of the sword to bear the point of 
the antagonist’s weapon out of the line of the person 







FENCING. 


“In personifying the sword of the past one 
has said: ‘Its aspect was brilliant; its habits 
punctilious; its manners were courtly; its con¬ 
nections were patrician; its functions were 
solemn; its contact was ennobling; even its 
vices were glittering, for they were the defects 
of its superb qualities.’” 

while delivering a blow to prevent falling upon it, and 
to avoid receiving a blow in return when in the act of 
recovering to the position of the Guard. This must be 
insisted upon from the first blow a beginner makes, 
till it becomes a confirmed habit. 

To Change the Engagement 

make a very small quick movement of the point, pass¬ 
ing it under and as near as possible to the blade of the 
antagonist to the opposite side; this movement must 
be abrupt, and executed with the fingers only, without 
lowering the hand, and covering at the instant the 
point of the opposing blade is felt. 

Feeling the Blade 

consists in supporting and keeping the weapon in con¬ 
tact with the adversary’s, without pressing upon it. 

This requires a delicate sensibility of the hand, which 
it is most essential to acquire. For it will indicate, 
in connection with the eye, when the opponent’s blade 
has commenced an attack, and enable the weapon to 
be so managed in the parries as to deflect a blow with¬ 
out violence and fatigue, while yet retaining it in the 








FENCING. 




9 


“ Tis not a victory to win the field. 

Unless we make our enemies to yield 
More to our justice than our force; and so 
Instruct as well as overcome our foe." 

position from which a blow in return can be most 
quickly and certainly delivered. 

Fingering the Sword 

is to manoeuvre the point of the sword by the action 
of the fingers alone, without the aid of the wrist. 

To do this the grasp, particularly of the two middle 
fingers, must be alternately relaxed and tightened. It 
is only by cultivating this action that disengagements 
can be abruptly and closely made, and the point moved 
with quickness, dexterity, and precision, either in mak¬ 
ing a feint, or, in avoiding the adversary’s disengage¬ 
ment, in order to deliver a blow. 

The Blow 

is the act of directing the point towards an antagonist. 
It may be delivered in two' ways—by means of the 
thrust , or with the thrust combined with the extension 
of the body called the development. 

The Thrust 

is the position assumed by extending the arm to the 
front fully and vigorously, raising the hand to the 
height of the mouth, lowering the point slightly by 
bending the wrist, but without loosening the grasp. 










10 


FENCING. 


“As the centuries passed, the uses of the 
sword arose; it grew to be a creator as well as 
a destroyer: men made of it their great en- 
nobler. Its touch conferred the knighthood 
which soldiers longed to win; and reverence for 
it waxed so deep that its simple presence on 
the hip was taken to be sufficient evidence that 
its wearer was, to some extent at least, a 
gentlemen.” 


At the same time the weight of the body must be 
thrown forward on the right leg by straightening 
quickly and stiffly the left, and bringing down the left 
arm by the side, rigidly extended, the hand about three 
inches above the left leg, fingers extended and joined, 
the palm to the left. 


The Elevation 

is the sword-hand raised when the blow is delivered. 
This movement and position of the hand increases the 
probabilities of making a successful blow, while it acts 
as an important’ protection from a return blow. 


The Development 

is the position taken in addition to that prescribed for 
the Thrust , by advancing the right foot close to the 
ground about twice its length, the left foot remaining 
firm in its position; the body is slightly thrown for¬ 
ward in an easy attitude, the head erect; the right 
knee vertical over the instep. 













FENCING. 


m 


11 


“The wise and active conquer difficulties 
By daring to attempt them: sloth and folly 
Shiver and shrink at sight of toil and hazard, 
And make the impossibility they fear.” 


To Recover the Guard. 

Raise the toe of the right foot, and exert strongly 
the muscles of the right leg, throwing up rapidly the 
left arm to the rear at the same moment, and take the 
position of Guard. The right hand should be brought 
instantly to its position, never falling below it. 

The left arm is an important auxiliary in all these 
movements, in maintaining the equilibrium, and in 
materially assisting in the development and^ recovery 
of the Guard. 


To Advance. 

Move the right foot quickly forward its own length, 
raising it but slightly from the ground, and follow it 
at once with the left, moving it the same distance, and 
resume the position of Guard. 

In advancing to make a blow at an antagonist who 
is out of distance, it is necessary to briijg up the left 
foot near the right, keeping the legs well bent. 

To Retreat. 

Move the left foot its length to the rear, and follow 
it quickly with the right, moving it the same distance, 
and resume the position of Guard. 






12 


FENCING. 


■*= L 

“Finally the sword ‘came to be regarded as 
the one accepted emblem of manly pride, as 
the outer symbol of all that men prized most — 
their courage, their liberty, and their honor.’” 


The hand and point must neither rise nor fall in 
these movements. 

The point must remain steadily presented in a 
menacing attitude at the adversary. 

Points of Attack. 

There are three general points at which an attack 
may be directed upon an antagonist when on Guard. 
As the breast is nearest, and most vulnerable, it is 
to be struck at whenever exposed. But as the point 
of the weapon cannot, in a desperate encounter, be 
directed with absolute certainty, and cannot but be 
damaging whenever it touches, all that part of the 
body not guarded by the weapon is to be attacked. 
The face and right side, on the right of the antagon¬ 
ist’s weapon, is the “ right ” point of attack; the 
face and left side, on the left of the weapon, the “ left” 
point of attack ; and under the sword-arm, the “ flank ” 
attack. 

Two of these points are always exposed, as the 
weapon can guard but one at any one moment. 

The Direct Blow 

is the result of the effort which carries the point to 
the front, in the most direct line, to the point of 


*■ 









' ——I I I I I II I 

FENCING. 13 


“ The brave man is not he who feels no fear, 

For that were stupid and irrational; 

But he whose noble soul its fears subdues. 

And bravely dares the danger nature shrinks from.” 

attack. It is the quickest of all the blows, and of 
course should be executed whenever the opportunity 
offers; that is, whenever the antagonist is uncovered. 

For instance, if engaged in Tierce, to deliver a direct 
blow, the point would be moved to the front at the 
right side of the antagonist, should he momentarily 
uncover himself. 

To Disengage 

is to change the direction of the point and deliver a 
blow at the antagonist where he is not protected by 
his weapon; the movement of the point must precede 
the development. But these acts must be as nearly 
simultaneous as possible. 

The Measure 

is the distance the point attains when the person is 
fully developed. 

The Appel 

is the noise arising from striking the right foot on the 
ground, generally twice in rapid succession, by raising 
it about an inch, and striking it back with force. It 
is resorted to in making a feint to discompose the 
antagonist, or is done by the Fencer to deter his 






14 FENCING. 


“No other material object ever attained such 
a place in the eyes of men; the sword stood 
absolutely alone in its honor-bestowing efficacy. 

It was the visible badge of birth, of bravery, of 
freedom.” 

adversary from advancing too rapidly, and to reassure 
himself in his position after a retreat. 

To Parry 

is the action of turning aside the antagonist’s blade 
from the point at which it is aimed. This is done 
with the fort of the blade. 

Ten parries have been decided upon as affording 
protection to the person from all blows that can be 
directe'd at it. They are designated by the [old], 
French ordinal numbers, and are thus known in all 
languages, viz ; Prime, Seconde, Tierce, Quarte, Quinte, 
Six, Sept, Octave, Counter Tierce, and Counter Quarte. 

Tierce, Quarte, Quinte, and Six, are called Simple 
Parries, as in executing them the weapon is but 
slightly moved from the position of Guard. 

Prime, Seconde, Sept, and Octave, are called half 
counters, as the point describes a half-circle in effect¬ 
ing the parry. 

The remaining two are called counters, as the point 
is made to describe a complete curve returning to its 
original position. 

To parry correctly, the weapon must take a position 
which will protect the person, while at the same time 

--- - 1 1 







•'1 








I 






























—— ' ' —--- - ■ - I 

FENCING. 15 


“When you are challenged you may dangers meet. 
True courage is a fixed, not sudden heat; 

Is always humble, lives in self-distrust. 

And will itself into no danger thrust.” 

the point is retained in front of the antagonist, ready 
to attack. The advantage of having a number of 
parries, is to add to the security of the defender by 
embarassing the attacker, and thus preventing him 
from making a sure disengagement. 

Prime 

is the position that would be involuntarily taken by 
one if attacked when in the act of drawing his bla^e 
from the scabbard. 

From the position of Guard it is formed by turning 
the hand until the back is towards the left, keeping 
the point stationary to the front, then raising the hand 
diagonally to the left until the fore-arm is in front of 
the forehead, describing with the point, in descending, 
a curve from right to left, arresting it on a line with 
the left side at the height of the waist. It is necessary 
to describe a curve with the point, so that the blade 
will cut the line of approach of the opposite weapon. 

Executed properly, it is most effective, as it may be 
used to turn aside every blow that can be made from 
the position of Guard, which can not be said of any 
other parry. It is particularly advantageous to men 
of small stature. 









16 


FENCING. 


“But when the sword at last attained the 
faculty of bestowing repute on all who touched 
it, it added a new and special glory to its pre¬ 
vious splendors. Its legendary, historical, and 
political aspects, which were all stately enough 
already, became supplemented by another and 
still higher phase.” 


Seconde 

naturally follows Prime in case that parry is avoided. 
From Guard it is formed by turning the hand in 
pronation, both lowering it and moving it slightly to 
the right, describing with the point a curve, the con¬ 
vexity to the left, arresting the point on a line with 
the right side, and at the height of the groin. 

Tierce. 

When Seconde has been avoided by the attacker’s 
point, Tierce would be resorted to involuntarily. It 
is nearly the same as the guard of Tierce. 

From the middle Guard it is formed by moving the 
hand to the right till it is opposite the right side, 
keeping it in supination, that is, with the back down; 
the point moves as little as possible, the hand is drawn 
slightly back 

Quarte 

would naturally follow to deflect the weapon which a 
parry of Tierce had failed to meet. It is formed from 
the middle Guard by moving the hand to the left, as 
far as the left side, inclining the nails slightly to the 



































Ti^I9. -Attack, attlieTTlariK.. Pi2XL 2 ]/ QimiTe Tcux^* 






4 






















& 


FENCING. 


17 


“The fame that a man wins himself is best; 

That he may call his own: honours put on him 
Make him no more a man that his clothes do. 

Which are as soon ta’en off; for in the warmth 
The heat comes from the body not the weeds; 

So man’s true fame must strike from his own deeds.” 


left. The point is maintained in its position as nearly 
as possible. 

Quint e 

is resorted to in order to parry a weapon directed low 
at the left. 

It is formed by lowering the hand diagonally, plac¬ 
ing it in front of the left side, at the height of the 
groin, the nails to the left; the point is arrested as 
nearly as possible on a line with the right shoulder of 
the antagonist. 

Six 

was formerly Tierce parry, and constituted, among 

early masters, the guard of Tierce. It is "yet too 

frequently confounded with the true Tierce. 

It is formed from middle guard by turning the hand 

in pronation, and moving it opposite the right side; 

the point is in front of the antagonist, and at the 

height of the crown of the head. 

© 


Sept. 

This parry is also called Demi-circle. It is formed 
from middle Guard by bending the wrist and lowering 
the point, describing with it a slight curve, the con- 









18 


FENCING, 



“ So the sword went forward, noble and ennob¬ 
ling. But it was not content, it wanted more. 
Before it died it seized a new and wonderful 
position. Four hundred years ago it was con¬ 
verted from a weapon of pure attack into a 
mixed arm of offense and defense combined: it 
became a protector to its wearer as well as an 
assailant. It remained the sword, but it re¬ 
placed the shield.” 


vexity to the right; the hand is raised slightly, and 
moved to the left, opposite the left side, and the point 
is arrested in front of the groin of the antagonist. 

Sept is used to parry blows delivered at the waist, 
but it is less effective than Quinte. 

Octave. 

This party is formed from Guard by bending the 
wrist, retaining the arm in its position and lowering 
the point, describing with it a slight curve, the con¬ 
vexity to the left ; the hand is moved in front of the 
right side, and the point is arrested opposite the groin 
of the antagonist. 


Counter Parries 


are those in which the blade moves under and around 
the weapon of the adversary when he disengages, re¬ 
turning it to the position from which it started, and 
are so called for the reason that they oppose this change 
of the engagement. 

Every parry may have a corresponding counter; 





t 














K 

\ 




N. 






——. I. . I .■■■■■■■■■ .11 II ® 

FENCING. 19 


“How vain are all hereditary honours, 

Those poor possessions from another’s deeds. 

Unless our own just virtues form our title, 

And give a sanction to our fond assumptions.” 

but two, however, are found to be of advantage, 
Counter Tierce and Counter Quarte. 

The counters have two advantages: they cut all the 
lines of attack, and throw off the weapon of the 
attacker on the same side on which he is prepared to 
take the opposition, which consequently may leave him 
uncovered and exposed to a direct return blow. 

Counter Tierce . 

Being engaged in Tierce, when the attacker disen¬ 
gages at the “left,” lower the point with a quick bend 
of the wrist, passing it under the approaching weapon, 
and throw it of to the right. 

Counter Quarte 

is executed after the same manner from the engage¬ 
ment of Quarte; the blow is thrown off to the left. 
The point in both these parries must be arrested 
opposite the antagonist’s face. 

Double Counters . 

The execution of the counters twice in quick suc¬ 
cession is called a double counter. It is a parry that 
should be much practiced, as it gives great command 
of the weapon. 






FENCING. 


“Thus the sword duplicated its operations: 
the destroyer set itself to save, the slayer to 
rescue. It had always possessed the cut and 
thrust, it obtained the guard and parry. Fenc¬ 
ing was invented.” 


REMARKS ON THE MANNER OF INSTRUCTION. 

The pupils will be arranged in one rank, with inter¬ 
vals of three feet, in the position of attention. Four or 
six are as many as one instructor can possibly attend 
to. The lesson at first should not exceed half an hour 
daily. “Attention ” will be the command given to call 
them to order and their proper positions. 


First Lesson. 

The class will assume the position of Guard at the 
command “ On Guard,” and will resume it at the same 
command as often as it is interrupted in making a 
blow. 

For the first few lessons the class will be exercised 
only in the Thrust, the Advance and Retreat. When 
they are well established in the position of Guard, and 
can execute the thrust accurately, and have entirely 
mastered the first great difficulty, straightening the 
left knee vigorously, they will be taught the Develop¬ 
ment. If a correct and quick development is not 
acquired at first, the pupil will long labor under a 







- - — ■ . : ) 

FENCING. 21 

“The sword may pierce the hearer. 

Stone walls in time may sever: 

Tis heart alone. 

Worth steel and stone. 

That keeps men free for ever!” 

great disadvantage. It is the Thrust that particularly 
contributes to its attainment. 

The commands of caution are printed in italics , those 
of execution in capitals. 

The commands of the instructor in this lesson will 
be as follows : 


Advance. 

Retreat. 


Two steps , .... 

Advance. 

Two steps , .... 

Retreat. 

Thrust, ..... 

On Guard. 

Advance, Thrust, 

On Guard. 

Retreat, Thurst, 

On Guard. 

Two steps , Advance, Thrust, 

On Guard. 

Two steps, Retreat, Thrust, 

On Guard. 

Advance, Develop, 

On Guard. 

Retreat, Develop, . 

On Guard. 


Second Lesson. 

The pupils will next be formed in two ranks, facing 
each other, at proper distance and with sufficient inter¬ 
vals. One rank will be designated No. 1, the other 
No. 2. 

& " * . ■■ — ■■■ ■■. ■■■■■ i . i n ■■ ■ ' ■ ■ .. g.: 








V. !> 


22 


FENCING. 




“When the asgis and coat of mail had disap¬ 
peared, then the long coutille — originally de¬ 
vised to find holes in breastplates—was seized 
by the lithe ready hand, and swordsmanship 
was.” 


To Direct the Point. 

One number will then be cautioned to occupy the 
middle Guard, while the other makes the direct blow. 

The commands for all blows will be* No. 1 or 2 
Attack. At this command, the rank which makes 
the blow directs the point at the right breast, being 
careful to take the opposition and elevation, and to 
keep the fingers closed upon the gripe. 

On Guard. 

At the command in Tierce (or Quarte), “ On Guard,” 
each rank will assume the position of Guard, and each 
set of fencers will cross blades a few inches from the 
button, the right of the blades in contact if in Tierce, 
the left if in Quarte. 

The blows and movements will be made by each 
rank alternately. Every blow must be delivered to 
touch, each pupil making a full development, deliver¬ 
ing the point quickly and accurately. 

The instructor should explain well each blow by 
first engaging his blade with that of one of his pupils. 

Each number will make the same movement or blow 
several times in succession, in order that any errors 
may be corrected. 


$>■ 






« — 1 ■ 1 ■■ ■ 1 ■ ■■ ■ ■' . a 

FENCING. 23 

“ The brave man seeks not popular applause. 

Nor, overpower d with arms, deserts his cause. 
Unsham’d, though foil’d, he does the best he can; 

Force is of brutes, but honor is of man.” 


To accustom the pupils to preserve their guard, and 
the proper distance from each other in advancing and 
retreating, when the command is given for one rank 
to advance the other will retreat. 

The action of each number is arranged in the order 
in which it occurs. 

After anouncing and explaining the combination in 
the first column, the instructor will give the command 
of execution in the second column. 

The instructor will, in this lesson, direct as follows : 
The command to deliver a blow will be —Attack. 

Instruction. Command of execution. 

) No.l Attack— 
f On Guard. 


No.l A TTACK — 
On Guard. 


) No.l Attack— 
( On Guard. 




No. 1 will advance and thrust. No. 2 
will stand fast and receive the blow. 


No. 1 advance and develop. No. 2 
retreat and receive the blow. 


No. 1 advance two steps and de¬ 
velop. No. 2 retreat two steps 
and receive the blow. 











24 


FENCING. 


■? )i 


“The art of swordsmanship dashed into life, 
instantly great, suddenly magnificent — it stood 
before the world a real art. Then began the 
superbest moments of the course of the sword. 
Its noble day had fully come. The handling of 
it was a process by itself; nothing like it had 
been known before.” 


Third Lesson. 

Change the Guard. 

The pupils will then be instructed in changing the 
Guard, being careful to cover themselves as often as it 
is done. 

If engaged in Tierce, to change the engagement the 
command is No. 1, change Quarte, which will be ex¬ 
ecuted by passing the point quickly under the opposite 
blade, and as close as possible to it, bringing the left 
edge in contact. At the same instant the hand is 
moved to the left to cover the left, and No. 2 takes 
the opposition. 

The change from Quarte to Tierce is after the same 
manner. 

To Disengage. 

One number will be covered in Tierce or Quarte, 
while the other holds the point in a menacing attitude 
to make the attack. The command of caution will be: 
No. 1 or 2 Disengage at the right , left, or flank, and 
will be executed as in par. 2, page 13. The dis¬ 
engagements will be made to each of the points of 
attack. 






FENCING. 


25 


“That courage which the vain for valour take. 
Who proudly danger seek for glory’s sake. 

Is impudence; and what they rashly do 
Has no excuse, hut that’t is madness too.” 


Disengagements. 

The disengagement from Tierce to Quarte, or from 
Quarte to Tierce, is made by pressing on the gripe 
with the thumb and middle fingers, changing, the point 
from one side to the other, with an abrupt and rapid 
motion, at the same time it is moved in a spiral direc¬ 
tion to the front. The point should be directed at the 
right nipple. The curve which the point makes around 
the blade should be as small as possible. 

To disengage at the “ flank ” from Tierce or Quarte, 
the point is lowered by bending the wrist and moved 
at the same time to the front, just under the blade of 
the antagonist. 

The instructor in this lesson will direst as follows: 

Instruction. Command of execution. 

No. 1 change guard. 

No. 2 take the opposition. 

No. 1 disengage at the “ right,” 

“ left,” or “ flank.” 

No. 2 will receive the blow. 


No. 1 change guard and advance. 
No. 2 take opposition and retreat 
No. 1 disengage. 

No. 2 will receive the blow. 


No.l Attack— 
On Guard. 


I No.l Attack— 
f On Guard. 










FENCING. 




26 


■f 


“The sword was not a mere momentary wea¬ 
pon; it was an essence, a fact, a part of exis¬ 
tence, a world’s need; it outlived nations and 
centuries; it endured when all else changed 
around it.” 


Fourth Lesson. 

Blows Parried. 

As soon as the point can be delievered with tolerable 
accuracy, instruction will be given in the parries. 

The disengagement from Tierce at the “ left ” may be 
parried with Quarte, a simple parry, or with Prime, 
Seconde, and Octave, half-counters, or with Counter 
Tierce. 

The disengagement from Quarte at the “ right ” may 
be parried with Tierce and Six, with Prime and Sept, 
and with Counter Quarte. 

The disengagement at the “ flank ” from Tierce may 
be parried with Quinte, Prime, and with Seconde and 
Octave; from Quarte, with Prime and Sept. 

Each blow should be executed by each number sev¬ 
eral times in succession. - 


Disengagements. 

Engagement of Tierce. 


Instruction. 


Command of execution. 


No. 1 will disengage at the “left.” ) 
No. 2 will remain covered in Tierce > 
and receive the blow. I 

O —. ■■ 


No.l Attack- 
On Guard. 








FENCING. 

27 

“ A prudent chief not always must display 

His pow’rs in equal ranks and fair array; 

But with th’ occasion and place comply. 

Conceal his force, nay, seem sometimes to fly.” 

Instruction. * Command of execution. 

No. 1 will disengage at the “left.” | 

[ No.l Attack— 

No. 2 will parry Quarte. j 

1 On Guard. 

No. 1 will disengage at the “left.” 

) No.l Attack— 

No. 2 will parry Seconde. 

f On Guard. 

No. 1 will disengage at the “left.” ) 

' No.l Attack— 

No. 2 will parry Prime. J 

On Guard. 

No. 1 will disengage at the “left.” j 

i No.l Attack— 

No. 2 will parry Octave. J 

On Guard. 

No. 1 will develop and deliver a di-'j 

1 

rect blow. ! 

[No.l Attack— 

No. 2 will take the middle guard and j 

On Guard. 

receive the blow. J 

► 

No. 1 advance and develop. 

) No.l Attack— 

No. 2 retreat and receive the blow. 

( On Guard. 

No. 1 develop. ) 

1 No.l Attack— 

No. 2 parry Tierce. J 

I On Guard. 

No. 1 change guard to Quarte and 'j 

I 

• develop. 1 

[No.l Attack— 

No. 2 take the opposition and parry i 

f On Guard. 

Quarte. J 

1 
















28 FENCING. 

“To regret the disappearance of the sword 

would be purely sentimental, if not absurd; yet 

among conservative peoples there is some ex- 

cuse for lamenting the disappearance of land- 

marks, and never was there a more universal 

sign-post than the sword, for it pointed the road 

to almost all the ends of life. Men were what 

their swords made them, and yet the sword has 

vanished so completely that we can scarcely 

suppose the world will ever see it at its true 

work again.” 


Instruction. Command of execution. 

No. 1 change guard to Tierce and '' 

1 

. develop. 1 

[ No.l Attack— 

No. 2 take the opposition and parry | 

On Guard. 

Tierce. J 

1 

Fifth Lesson. 


No. 1 will disengage at the “left.” i 

1 No.l Attack— 

No. 2 will parry Counter Tierce. j 

I On Guard. 

No. 1 will disengage at the “ flank.” ) 

1 No.l Attack— 

No. 2 will parry Seconde. J 

1 On Guard. 

No. 1 will disengage at the “flank.” ] 

i No.l Attack— 

No. 2 will parry Quinte. J 

1 On Guard. 

No. 1 will disengage at the “ flank.” ] 

1 No.l Attack— 

No. 2 will parry Prime. J 

I On Guard. 

No. 1 will disengage at the “flank.” ) 

1 No.l Attack — 

No. 2 will parry Octave. j 

1 On Guard. 














FENCING. 

29 

“Brave spirits are a balsam to themselves. 

There is a nobleness of mind that heals 

Wounds beyond salves.” 


Sixth Lesson. 


Engagement of Quarte. 

Instruction. Command of execution. 

No. 1 will disengage at the “ right.” i 

1 No.l Attack— 

No. 2 will parry Tierce. 

f On Guard. 

No. 1 will disengage at the “ right.” ' 

[No.l Attack— 

No. 2 will parry Six. 

| On Guard. 

No. 1 will disengage at the “right.” ) 

i No.l Attack— 

No. 2 will parry Prime. j 

On Guard. 

No. 1 will disengage at the “ right.” 

1 No.l Attack— 

No. 2 will parry Sept. 

f On Guard. 

Seventh Lesson. 


No. 1 will disengage at the “ right.” ) 

i No.l Attack— 

No. 2 will parry Counter Quarte. J 

1 On Guard. 

No. 1 will disengage at the “flank.” j 

[No.l Attack— 

No. 2 will parry Sept. J 

[ On Guard. 

No. 1 will disengage at the “ flank.” ] 

[ No.l Attack — 

No. 2 will parry Prime. J 

1 On Guard. 

















30 


FENCING. 




“The discarding of this weapon has brought 
about a transformation of two* distinct kinds 
in the features of war. Its material result has 
been the almost total abolition of hand-to-hand 
hitting; its moral outgrowth has been to change 
the nature of the courage which is required in 
soldiers, and to give new form to the manifest¬ 
ations of that courage.” 




Eighth Lesson. 

So soon as blows are delivered with some accuracy, 
one number will advance and deliver the point; the 
other will at the same time retreat and parry. 

In parrying, the hand should move only so far to 
the right or left as to cover the person, so that, if 
deceived by a feint, the defender may still move his 
weapon in time to find and parry the blade from the 
point at which the blow is actually delivered. 


Ninth Lesson. 

Feints. 

A Feint is a quick movement of the point towards 
an exposed “point of attack,” as if a blow was in¬ 
tended, the object being to disquiet the antagonist and 
induce him to move his blade and thus expose himself. 

To execute a feint, the point must be moved 
smoothly and quickly to the front, nearly to the full 
extent of the arm, and as close as possible to the an¬ 
tagonists weapon. The hand should be raised to the 








FENCING. • 31 


FAL. I have ’scaped by miracle. I am eight 
times thrust through the doublet; four 
through the hose; my buckler cut 
through and through; my sword hacked 
like a handsaw, ecce signum! I never 
dealt better since I was a man. 

height of the mouth. Neither the body nor the legs 
should move. The feint may be accompanied with 
an appel or exclamation. 

In feinting at the “flank,” lower the point in a ver¬ 
tical line, and move it to the front just under the an¬ 
tagonist’s guard, being careful to raise the hand well. 

To execute a feint at the “left,” supposing the en¬ 
gagement to be in Tierce, change the point and advance 
it nearly to the full length of the arm, describing with 
it the smallest possible circle around the antagonist’s 
weapon. A feint at the right, from the engagement 
of Quarte, is similarly executed. 

A feint is followed by a disengagement or by a 
direct blow. If the opponent moves his weapon to 
oppose the feint, disengage; if he does not move it, 
deliver a direct blow, being careful in either case to 
take the opposition. 

A Feint Combined with a Disengagement. 

The instructor will indicate where the blow will be 
delivered, and explain that the disengagement will be 
either under or over the opponent’s weapon, depending 
upon the parry. 

At first the number that parries will reply to the feint 










32 


• FENCING. 


“ Instead of delivering his stroke with his own 
arm, and within reach of his arm, the soldier 
now transmits his blow through the barrel of 
his gun; instead of demolishing a personal an¬ 
tagonist, he strikes an indifferent stranger out 
of sight, and hard hitting is replaced by skill 
in shooting straight.” 

only, permitting himself to be touched in the disen¬ 
gagement ; afterwards he will reply both to the feint 
and disengagement, parrying the blow. 

Engagement of Tierce. 


Instruction. 

No. 1 feint at the “left.” 

No. 2 parry Quarte. 

No. 1 disengage at the right. 


Command of execution. 

I No.l Attack— 
( On Guard. 


No. 1 feint at the “left.” 

No. 2 parry Seconde. 

No. 1 disengage at the “right” or 
“left.” 

No. 2 parry Tierce, or Six, or Prime 


) 


No.l Attack— 
On Guard. 


No. 1 feint at the “left.” 

No. 2 parry Prime. 

No. 1 disengage over the weapon at 
the “flank.” 

No. 2 parry Seconde. 


No.l Attack— 
On Guard. 













FENCING. 


33 


FAL. All? I know not what you call, all; 
but if I fought not with fifty of them, I 
am a bunch of radish; *if there were not 
two or three and fifty— 


Tenth Lesson. 

Instruction. 

No. 1 feint at the “left.” 

No. 2 parry Octave. 

No. 1 disengage at the “right” or 
“left.” 

No. 2 parry Tierce. 


No. 1 feint at the “ left.” 

No. 2 parry Octave. 

No. 1 disengage at the “ flank.” 
No. 2 parry Sept. 


Command of execution. 


No.l Attack— 
On Guard. 


No.l Attack- 
On Guard. 


No. 1 feint at the “ flank.” 

No. 2 parry Seconde. 

No. 1 disengage at the “right” or 
“ left.” 

No. 2 parry Tierce, Six or Prime. 


No.l Attack- 
On Guard. 


Eleventh Lesson. 


No. 1 feint at the “ flank.” 

No. 2 parry Seconde. 

No. 1 disengage over the weapon at 
the “ flank.” 

No. 2 parry Prime or Sept. 


No.l Attack— 
On Guard. 










34 


FENCING. 


“The courage we ask of our soldiers to-day is 
of a different sort. It is so infinitely higher 
that it is scarcely possible to make a compari¬ 
son between the old and new shapes of valiance. 
•Long range fighting has brought into the world 
a type of fortitude hitherto totally unknown, a 
product of this century, and very different from 
the animal courage required for sword work.” 


No. 

No. 

No. 

No. 


Instruction. 

? eint at the “ flank.” 

>arry Octave. 

disengage at the “right” 
“left.” 
rnrry Tierce. 


Command of execution. 


or 


No.l Attack— 
On Guard. 


No. 

No. 

No. 

No. 


1 

2 

1 

2 


feint at the “ flank.” 
parry Octave, 
disengage over the weapon 
the “flank.” 
parry Sept. 


at 


No.l Attack— 
On Guard. 


Twelfth Lesson. 


Engagement of (fitarte. 


No. 1 feint at the “ right.” 
No. 2 parry Tierce. 

No. 1 disengage at the “left.” 
No. 2 parry Quarte. 


i 

) 


No.l Attack— 
On Guard. 


No. 1 feint at the “right.” 
No. 2 parry Six. 

No. 1 disengage at the “left.” 
No. 2 parry Quinte. 


I 

f 


No.l Attack— 
On Guard. 










FENCING. 


35 


FAL. I have peppered two of them: two, I 
am sure, I have paid; two rogues in 
buckram suits. * * Thou knowest my 
ward; here I lay and thus I bore my 
point. Four rogues in buckram let drive 
at me— 


Instruction. Command of execution. 

No. 1 feint at the “ right.” 

No. 2 parry Prime. 

No. 1 disengage over the weapon at 
the “flank.” 

No. 2 parry Seconde. 


Thirteenth Lesson. 

No. 1 feint at the “ right.” \ 

No. 2 parry Sept. ( No.l Attack— 

No. 1 disengage at the “right.” f On Guard. 
No. 2 parry Tierce. j 


No. 1 feint at the “ right.” 

No. 2 parry Sept. 

No. 1 disengage over the weapon 
the “flank.” 

No. 2 parry Octave or Seconde. 


No. 1 feint at the “ flank.” 

No. 2 perry Sept. 

No. 1 disengage at the “right” 
“ flank.” 

No. 2 parry Tierce or Octave. 


or 


No.l Attack- 
On Guard. 


at 


No.l Attack— 
On Guard. 


No.l Attack— 
On Guard. 













. . ■■■■ . '■'< > 

36 FENCING. 


“ Instead of dashing at the enemy in fierce ex¬ 
citement, instead of the hot emotion of savage 
struggle, instead of furious muscular exaspera¬ 
tion, instead of the intense development of the 
combative faculties, the soldier to-day must ex¬ 
hibit his intrepidity by remaining undisturbed 
amidst a hail of death and wounds.” 


Instruction. Command of execution 

No. 1 feint at the “ flank.” 

No. 2 parry Prime. 

No. 1 disengage over the weapon at 
the “ flank.” 

No. 2 parry Seconde. 


Fourteenth Lesson. 

Counter Disengagements. 

To avoid the Counter Tierce and Counter Quarte 
parries, it is necessary to move the point entirely 
around the adverse blade, describing a very small 
circle near the shoulder of the foil. This movement 
of the point, if followed by delivering a blow, is 
called a Counter Disengagement. 

Engagement of Tierce. 

Instruction. Command of execution. 

No. 1 feint at the “left.” 

No. 2 parry Counter Tierce. 

No. 1 Counter Disengage. 

No. 2 parry Quarte, Prime, Se¬ 
conde, Quinte, Octave, or 
Counter Tierce. 


} No.l Attack— 
On Guard. 


} No.l Attack— 
On Guard. 











FENCING. 


37 


P. HEN. What, four ? thou said’st but two, 
even now. 

FAL. These four came all a-front and mainly 
thrust at me. I made no more ado, but 
took all their seven points upon my tar¬ 
get, thus. 


Engagement of Quarte. 

Instruction. Command of execution. 

l^o. 1 feint at the “right.” 

No. 2 parry Counter Quarte. 

No. 1 Counter Disengage. 

No. 2 parry Tierce, Six, Sept, or 
Counter Quarte. 


No.l Attack- 
On Guard. 


Fifteenth Lesson. 

The Riposte. 

is the blow that immediately follows a successful 
parry. It may be delivered with the trust or develop¬ 
ment, direct or with a disengagement. -If delivered 
direct, it should be with such rapidity as to touch the 
opponent before he recovers his guard. It may be 
made also by first menacing a direct thrust, and, as 
soon as the opponent recovers his guard and covers 
the point of attack menaced, then disengaging. 

To menace is to advance the point quickly by a par¬ 
tial extension of the arm on the side of the engagement, 
as if about to make a direct blow. In menacing after 
a parry, the opposition must be maintained. 








38 FENCING. 


“The bravery of to-day is a nervous, contem¬ 
plative process; there is no action, no move¬ 
ment, no tug about it. The new war courage is 
based on the suppression of direct effort; it has 
become a passive process, in which the soldier 
endures instead of acting.” 

If the adversary moves his blade towards the point 
menaced, disengage; if he does not, deliver a direct 
blow. 

Ripostes are usually attempted after Quarte, Quinte, 
Six, and Tierce, Counter Quarte, and Counter Tierce 
parries. 

The riposte after Six, from the favorable position 
of the hand, can be delivered with more certainty and 
fatal effect and with more rapidity than any other. 

These ripostes are all executed by the thrust or de- 
velopement, raising the hand and lowering the point, 
directing it at the face and neck, or by first menacing 
and then disengaging at whichever point of attack may 
be uncovered. 

Ripostes will be delivered first without, afterwards 
with the development. 

Riposte after Prime Parry. 

Keep the hand in the position of prime, and by a 
rapid extension of the arm, and making a strong effort 
with the thumb and wrist, direct the point at the 
“ flank.” 






FENCING. 


f. 




39 


P. HEN. Seven ? why there were but four, even 
now. 

FAL. Seven, by these hilts, or I am a villain 
else. 


To Riposte after Seconde Parry. 

Lower the hand, keeping it in pronation, raise the 
point and deliver the blow at the flank; or menace at 
the “flank” and turn the hand as in Tierce, and deliver 
the blow at the “right.” 


Sixteenth Lesson. 

To Riposte after Six. 

Raise the hand as high as the head, turning the 
thumb directly down; lower the point over the guard 
of your antagonist and deliver the blow at the “right,” 
or disengage at the “flank.” 

* To Riposte after Sept Parry. 

Lower the hand, and deliver the blow at the flank; 
or menace, and as the antagonist covers himself and 
recovers his guard, disengage. 

The Riposte after Octave Parry. 

Lower the hand very slightly, raise the point and 
deliver tho blow at the. flank. This is also called 
Flanconade 








40 FENCING. 


“The old sword daring was impetuous, emo¬ 
tional, and intuitive; the new gun-courage is 
deliberative, logical and subjective; the one was 
material and substantial, the other is abstract 
and theoretical. They are as different from 
each other as credulity and faith, as dreams 
and thought.” 


Seventeenth Lesson. 

Ripostes will at first be made after a single parry; 
then after two or more parries. They are the most 
certain and fatal blows in fencing, and should there¬ 
fore receive great attention. 

Engagement of Tierce. 

Instruction. Command of execution. 

No. 1 disengage at the “left,” and \ 

remain developed. f No. 1 Attack— 

No. 2 parry Quarte, and riposte direct ( On Guard. 
with the thrust. J 

In returning to Guard the hand is often inadvert* 
ently lowered, and consequently an opening for a blow 
may thus be offered. 

No. 1 disengages at the “ left.” 

No. 2 parry Quarte, and as No. 1 re¬ 
covers his guard, riposte at 
the “ left ” with the develop¬ 
ment. 


No.l Attack— 
On Guard. 










FAL. These nine in buckram that I told thee 
of * * Their points being broken * * 
Began to give ground: but I followed 
me close, came in foot and hand; and, 
with a thought, seven of the eleven I 
paid. 


Instruction. 

No. 1 disengage at the “ flank.” 

No. 2 parry Seconde and riposte at 
the flank; or menace as if 
about to deliver a blow at 
the flank, and as soon as 
No. 1 covers, turn the hand 
in Tierce and riposte at the 
“ right.” 


Command of execution. 


No.l Attack- 
On Guard. 


Eighteenth Lesson. 


No. 1 disengage at the “left.” 


No. 2 parry Counter Tierce, and in¬ 
stantly show the point by 
advancing the weapon in 
a menacing attitude close to 


\ 


the antagonist’s. The mo¬ 
ment No. 1 recovers his 

guard and moves his foil to 
© 

protect the point menaced, 
No. 2 will disengage at the 
“ flank ” or at the “ right.” J 


, No.l Attack- 
/ On Guard. 












01 


42 


. . . . ■■ O 

FENCING. 


“The use of the sword was essentially per¬ 
sonal, while the use of the gun is, as essen¬ 
tially, impersonal. The sword was the expres¬ 
sion of the individual man who fought with it; 
each had its own particular manner of operat¬ 
ing, according to the hand which held it; while 
the gun is one in a total. The sword could 
not he wielded without liberty, the gun cannot 
be used without system.” 


Engagement of Quarte . 


Instruction. 

No 1 disengage at the “right.” \ 
No. 2 parry Tierce and menace at the 
“ rig]it,” and as soon as No. 

1 returns to Guard, and an¬ 
swers the menace by cover¬ 
ing with the parry of Tierce, 
No. 2 will turn the hand— 
the thumb down—keeping 
it high, and lowering the 
point, riposte at the “ flank. ”J 


Command of execution. 


No.l Attack- 
On Guard. 


No. 

No. 


1 disengage at the “right.” 

2 parry Six, and as the antagon¬ 

ist’s point is thrown aside, 
turn the hand and lower the 
point and riposte at the 
“ flank,” but over the antag¬ 
onist’s guard. 


No.l Attack— 
On Guard. 


Nineteenth Lesson. 

Ripostes will be practiced in the same manner after 
the parries of a Counter Quarte, Quinte, Sept, and 


i ii 











FENCING. 


43 




P. HEN. O monstrous! Eleven buckram men 
grown out of two! 

FAL. But, as the devil would have it, three 
misbegotten knaves in Kendal green 
came at my back, and let drive at me 
for it was so dark thou could’st not see 
thy hand. 


Octave,—first with the thrust, then the development, 
then with the disengagement, and finally with one or 
more feints and a disengagement or counter disengage¬ 
ment. 


Twentieth Lesson. 

Disengagements by Cutting over the Point. 

are made by raising the blade over the point of the 
antagonist’s weapon, and as close as possible to it. 
The cut, as a simple blow, is always preceded by a 
feint, or an attack upon the weapon by exerting some 
force upon it, pressing or striking it aside. For in¬ 
stance, whether on guard in Quarte or Tierce, turn the 
hand, the thumb up, and with a sudden energetic 
pressure move the antagonist’s point out of the line of 
the body; then leave his blade abruptly and extend 
the point to the front; as soon as your antagonist 
covers, raise the blade over his point and develop. 
The cut is most successfully made at the “ right,” first 
compelling the antagonist to parry Quarte. 

The cut may be made after a feint in the same 




manner. 









FENCING. 


“The sword means independence, the rifle 
means discipline, and therein is found the true 
secret of modern courage. The swordsman was 
himself alone, therefore his qualities were pos¬ 
itive. The rifleman is a unit in a regiment, and 
therefore his qualities must be negative.” 


Engagement of Tierce. 


Instruction. 

No. 1 feint at the “ left.” 
No. 2 parry Quarte. 

No. 1 cut over the point. 


Command of execution. 


No.l Attack— 
On Guard. 


Engagement 


of Quarte. 


No. 1 feint at the “ right.” 
No. 2 parry Tierce. 

No. 1 cut over the point. 


No.l Attack- 
On Guard. 


No. 1 menace. 

No. 2 parry Quarte. 

No. 1 cut over the point. 


No.l Attack— 
On Guard. 


Twenty-first Lesson. 

Ruse. 

Force in fencing accomplishes little, quickness much; 
but the intention and skill to deceive one’s antagonist 
everything. 








FENCING. 


& 


45 


P. HEN. Why, how could’st thou know these 
men in Kendal green, when it was so 
dark thou could’st not see thy hand? 
Come, tell us your reason; what say’st 
thou to this ? 

FAL. What, upon compulsion. No. Give a 
reason on compulsion! if reason were 
as plenty as blackberries, I would give 
no man a reason upon compulsion, I. 


On Commencing the Attack. 

The disengagement, simple feint, and menace have 
been explained. The other modes of commencing an 
attack are as follows : 

Gliding the Weapon 

is executed by moving it smoothly along and in slight 
contact with the adversary’s till the arm is nearly 
extended, then terminating the movement with the 
• greatest celerity, executing a direct blow. 

The opportunity for making this blow can only occur 
when the opponent is not covered, and, as the point 
approaches him, does not take the opposition. 

If the opponent protects himself, taking the opposi¬ 
tion, a disengagement may be made. 

Pressing. 

Without quitting the adversary’s blade, move the 
weapon forward quickly, bearing upon his, commenc¬ 
ing at the feeble, and develop, or, if the opposition is 
taken, disengage. 









46 


FENCING. 


“Though the independence of the sword is a 
more intellectual condition than the discipline 
of the rifle, it is disc'pline, not independence, 
which has generated the loftiest type of cour¬ 
age that the world has seen. It is only in our 
day that, for the first time, hundreds of thou¬ 
sands of men exhibit stoicism together.” 


This blow is employed with advantage against one 
who extends his blade too much. 


Twenty-second Lesson. 

Beating . 

Raise the point slightly and strike the opponent’s 
weapon at an acute angle, the “ fort ” against his 
“ feeble.” 

It is employed against an extended guard in order 
to displace the point of an adversary upon whom a # 
feint has no effect, in order to afford an opportunity 
for a disengagement. 

False Beating or Tapping 

is to strike the adversary’s weapon with the “ feeble,” 
on the side of the engagement, a slight quick tap by 
the action of the wrist alone, for the purpose of dis¬ 
quieting him, causing him to grasp nervously his 
weapon, and make some movement of which advantage 
may be taken. It is often done several times in rapid 
succession. 











“Thou little knowst 

What he can brave, who born and nurst 
In danger’s paths, has dared her worst! 

Upon whose ear the signal-word 

Of strife and death is hourly breaking; 

Who sleeps with head upon the sword 

His fever’d hand must grasp at waking.” 

The same effect may be produced by rapidly chang¬ 
ing the guard. 


Engagement of Quarte. 


Instruction. 

No. 1 beat or tap and menace. 

No. 2 will move his point to the 
“left” and cover. 

No. 1 feint at “right.” 

No. 2 parry Tierce. 

No. 1 disengage at the “flank” or 
“left.” 


Command of execution. 


No.l Attack- 
On Guard. 


No. 1 beat. 

No. 2 will change the engagement. - 
No. 1 counter disengage at the “left.” ) 


No.l Attack- 
Ox Guard. 


No. 1 beat (rapidly). 

No. 2 will not move his blade. 

No. 1 will menace and develop, or 
disengage. 


No.l Attack- 
On Guard. 















,». .—— . 1 ■ - ■ J 

48 FENCING. 


“ Military courage is the product of particular 
training, which has suppresed the importance 
of the parts by transferring it to the whole. 
That training was unattainable while the sword 
forced fighters to be individual. It has only be¬ 
come achievable since the rifle has obliged sol¬ 
diers to be collective.” 


Twenty-third Lesson. 

Removing the Point. 

When an adversary has a hard hand and bears upon 
the weapon, it is well to try removing the point sud¬ 
denly, but only a short distance. He, finding the sup¬ 
port to his blade removed, will involuntarily seek it, 
and will almost certainly afford an opportunity for 
making a direct blow or disengagement; or he may 
attack, which, being anticipated, an advantage may be 
obtained. 

Crossing 

is employed against an antagonist who, without reply¬ 
ing to a feint, extends his blade, presenting it at the 
breast. 

It is executed by holding the hand high and turn¬ 
ing the blade over that of the adversary, and forming 
the parry of Seconde or Sept (demi-circle), thus se¬ 
curing command of his weapon and an opportunity of 
attacking at the “flank.” Crossing, if done with force 
and skill, will disarm. To disarm, however, in fencing 
as an exercise, is a discourtesy. 

. . ’ ' .. . I 








FENCING. 



“I see them on their winding way. 

About their ranks the moonbeams play; 
Their lofty deeds and daring high, 
Blend with the notes of victory; 

And waving arms and banners bright. 
Are glancing in the mellow light.” 


Binding 

is employed the instant after a successful parry, when 
the feeble of the attacker’s blade is controlled. 

For instance, if the antagonist disengages from 
Quarte at the “flank,” and the blow is parried with 
Sept, then an opportunity occurs to bind his weapon 
by turning the blade under his, and, with a quick 
motion of the wrist, raise it and throw it off to the 
right. If done at the nick of time, as the antagonist 
is recovering his guard, an opportunity is given to de¬ 
liver a blow at the “right,” where he will be uncov¬ 
ered, his weapon still* retaining its opposition in Quarte 
with which he delivered his blow. 

Binding after the parry of Octave may be effected 
after the same manner. The weapon in this case is 
thrown off to the left and a blow may be delivered at 
the “left.” 

In either case, if the attacker is quick enough after 
his weapon has been bound to close the line of the 
direct blow, a disengagement should follow. 


^ 1 . ■■ — . .—""ft 






50 


FENCING. 


“But if the courage of the sword is inferior 
to that of the rifle, it comes to the front again 
in the measure of the influence it has exercised 
on character. The sword has been one of the 
most powerful factors which have contributed 
to shape the tenor of men both in body and in 
mind. The work it did is self-evident; it stares 
us in the face.” 


Engagement of Quarte. 


Instruction. 


Command of execution. 


No. 1 disengage at the “flank.” \ 

No. 2 parry Sept, bind the weapon ( No.l Attack— 
and deliver a blow at the ( On Guard. 


‘right.” 


Engagement of Tierce. 


No. 1 disengage at the “flank.” 

No. 2 parry Octave, bind the weapon 

_3 __ ii INo. 



No.l Attack— 
On Guard. 


and menace at the “left.” 


No. 1 recover Guard and parry Qn arte 
No. 2 disengage at the “right.” 


Twenty-fourth Lesson. 

Flanconade. 


The blow delivered at the flank of the antagonist, 

t O 7 

when he menaces at the “left,” is called Flanconade, 
and is executed as follows : 

If, engaged in Quarte, the antagonist menaces or 
extends his point too far to the front and low, or 













FENCING. 


51 


“’Mid the din of arms, when the dust and smoke 
In clouds are curling o’er thee. 

Be firm till the enemy’s ranks are broke. 

And they fall, or flee before thee! 

But I would not have thee towering stand 
O’er him who’s for mercy crying. 

But bow to the earth, and with tender hand 
Raise up the faint and dying.” 


if he feints at the “left” from the engagement of 
Tierce, execute the parry of Octave and deliver a 
blow at the flank, raising well the hand. 

This blow is parried with Octave or Seconde. 


Time Thrusts 

are made at an attacker who, in delivering his blow, 
is uncovered, or who makes a too wide disengage¬ 
ment. 

Such blows may be best parried by attacking in re¬ 
turn, by a quick extension of the arm, taking a strong 
opposition. 


Time Blows 

are those delivered at an antagonist who advances 
within distance uncovered, or who makes his feints too 
slow or wide. 

As the success of such blows depends upon the 
readiness with which advantage is taken of the mo¬ 
mentary indiscretien of an antagonist, they are re¬ 
garded as the most brilliant in fencing. 











52 


FENCING. 


“ The new shape of bravery which has accom¬ 
panied the adoption of long-range firearms is 
an additional example, evolved by circum¬ 
stances, of that progressive substitution of the 
idea of duty for the idea of honor, which consti¬ 
tutes so vivid and so absolute a distinction be¬ 
tween the motives and objects of the past and 
of the present.” 


Time Blows and Thrusts , 

as explained, are delivered when the opponent, through 
fault, momentarily uncovers his person. The oppor¬ 
tunities for making these blows must be seized as they 
occur, and the point must be delivered without hesita¬ 
tion and with accuracy, taking the opposition, other¬ 
wise the result will be thrust for thrust , both fencers 
touching. 


No. 

No. 


Instruction. 


Command of execution. 


1 advance engaged in Tierce 'or 

Quarte, and if uncovered 

2 will develop at the exposed 

point of attack or at the 
“ flank,” raising well the 
hand. 


I 


No.l Attack— 
On Guard. 


No. 

No. 


1 advance engaged in Quarte 

and feint, if the feint is 
wide 

2 will not reply, but instantly 

develop at the “ right,” tak¬ 
ing a strong opposition. 


No.l Attack— 
On Guard. 










FENCING. 53 


‘‘What are fears but voices airy? 
Whispering harm where harm is not; 
And deluding the unwary 
Till the fatal bolt is shot.” 


Instruction. Command of execution. 

No. 1 advance engaged in Quarte, 
committing the error of 
changing the engagement 
9 while in the act of advanc¬ 
ing 

No. 2 will develop at the “right,” 
while the antagonist’s foot is 
raised, taking the opposi¬ 
tion. 


No. 1 advance engaged in Quarte, 
and if committing the error 
of beating upon the weapon 
No. 2 will disengage by cutting over 
the point. 


Twenty-fifth Lesson. 

Encircling 

is effected by raising the hand after parrying Six, 
mastering with the forte the feeble of the attacker’s 
blade, then (as the latter rises and tries to guard 
against the riposte) turning or sliding the blade around 
it without quitting it, and riposting at the “ flank ” or 
by a cut over the point at the “left.” 


I 


No.l Attack— 
On Guard. 


, No.l Attack— 
On Guard. 












FENCING. 


m 


54 


“ Although the action of the sword has varied 
largely with time and place, it has been con¬ 
stant, until a century ago. Everywhere and 
always the usage of the sword has told, for evil 
and for good, upon a large proportion of man¬ 
kind. It stimulated activity, strength, rapidity 
of movement, dexterity and certainty of hand 
and foot. Morally its doings were opposite and 
conflicting.” 


Combinations. 

A feint followed by a disengagement is called a 
feint one , two. 

For instance, if engaged in Tierce, feint one, two, 
would be made by showing the point at the “left,” 
and when the opponent covers the “ left,” disengaging 
at the “right.” If, instead of this disengagement, a 
feint be made at the “ right,” and when the opponent 
covers, the blow be delivered at the “ flank ” or at the 
“ left,” the combination would be the feint one , two, 
three. 

Two feints and a disengagement or counter disen¬ 
gagement, or cut over the point, or a feint and a 
double counter disengagement, is as much of a com¬ 
bination as can be attempted in an assault. 


Xjj—■■■■■ , ! '"■■■ 1 »■ '■■■■■ 






FENCING. 


mmmmm 

55 


“Thus bravely live heroic men 
A consecrated band; 

Life is to them a battle-field, 
Their hearts a holy land.” 


Twenty-sixth Lesson. 

Wall Practice , or Tierce and Quarte, 

is an exercise for the purpose of acquiring a fine 
development and great precision in making the sim¬ 
ple disengagements at the “ right” and * ‘left.” 

The Salute 

is a preparatory exercise in the fencing hall, in which 
fencers indulge as a compliment to spectators and to 
each other, and to assure themselves of their equipoise 
and mobility before engaging in an assault. 

The masks are laid aside. The fencers, on first tak¬ 
ing the position of guard, rise, salute with their 
weapons each other and the spectators on the right 
and left. On resuming guard in Tierce, one" disen¬ 
gages first at the “ left,” then at the “ right,” the blows 
being delivered with a loose hand, so that the weapon, 
on being parried, will be turned and the point thrown 
to the rear, the parrier at the same time lowering his 
point out of line. After a few repetitions of these dis¬ 
engagements the first fencer will discontinue, and will 
so indicate by an appel, both rising. The guard of 
Tierce is then again resumed, and the other fencer will 
make the same disengagements. On appeling and 







FENCING. 


■f) 


56 


“It engendered self-reliance, the hahit of re¬ 
source, the consciousness of responsibilty: a 
keen sentiment of dignity, loyalty and honor; 
the desire to protect the suffering and the 
weak; a very noble generosity which stands be¬ 
fore us in history under the name of the “ spirit 
of chivalry.” It acted upon each man sepa¬ 
rately. Never did it proceed by groups. It was 
a private tutor, not a schoolmaster.” 


both rising, the salute with the weapon will terminate 
the exercise, when masks will be resumed and the 
assault commenced. 


Twenty-seventh Lesson. 

In the Assault 

approach cautiously, feeling lightly the adversary’s 
blade. Attack with audacity, and at first with direct 
blows, or close disengagements and recover rapidly. 
If attacked, act on the offensive while defending your¬ 
self, and do not permit your opponent to compel you 
to parry more than twice without riposting. 

After a touch the combatants pause long enough to 
recover breath and rest the hand, so as to renew the 
contest with full vigor. 

Men of small stature labor under a disadvantage, 
which they can only overcome, in part, by great exact¬ 
ness and quickness in parrying, and by exceeding 
rapidity in riposting. 







■f 


& 


FENCING. 


57 


“Ill seemes” (say’d he) “if he so valiant be. 

That he should be so Sterne to stranger wight! 
For seldom yet did living creature see 
That courtesic and manhood ever disagree.” 


Combinations of Blows and Parries. 

Engagement of Quarte. 

Instruction. Command of execution. 

No. 1 disengage at the “right.” 

No. 2 parry Counter Quarte, and 
riposte with the feint one, 
two, on the Tierce parry of 
No. 1; that is, as No. 1 re¬ 
covers Guard, No. 2 will 
feint at the “ right,” and as 
No. 1 parries Tierce, No. 2 
will disengage at the “left.” 

O O 


No. 1 disengage at the “right.” 

No. 2 parry Tierce and riposte with 
the feint one, two, on the 
Quarte parry of No. 1; that 
is, as No. 1 recovers Guard, 

No. 2 will feint at the “left,” 
and as No. 1 parries Quarte, 

No. 2 will disengage at the 
“ right.” 

Engagement of Tierce. 

No. 1 disengage at the “ left.” \ 

No. 2 parry Quarte and riposte with ( No.l Attack— 
the feint one, two, on the f On Guard. 

Tierce parry of No. 1. / 

.-- . - - ^ 


No.l Attack- 
On Guard. 


No.l Attack- 
On Guard. 









“The sword having ceased to act upon us, 
have we lost or have we gained by the cessa¬ 
tion of that guidance? The majority would 
probably declare that we have largely gained; 
that we have escaped from a domination and a 
cruelty. But a minority would prolaim that the 
sword performed a moral function and exer¬ 
cised a social action; that it did service upon 
earth by forcing men to respect each other; 
that it kept up the sentiment of mutual respon¬ 
sibility as no other external agent has ever sus¬ 
tained it.” 


Instruction. 


Command of execution. 


No. 1 disengage at the “left.” 

No. 2 parry Counter Tierce and ri- k T , A 

r J ,, £ . , No.l Attack— 

poste with the iemt one, > ~ 

, i . £ On Guard. 

two, on the Quarte parry ot 

No. 1. 


Twenty-eight Lesson. 

Engagement of Quarte. 

No. 1 feint one, two; that is, feints 
at the “ right” and disen- I 
gage at the “left.” L T i * 

No. 2 parry Tierce and Counter V k TTACK " 
Tierce, and riposte with the 1 N UARD - 
feint one, two, on the Quarte I 
parry of No. 1. J 


W 










m 


FENCING. 


59 


“The sword used its vast power well; it 
scarcely ever lost the consciousness of its high 
estate, of its duties and responsibilities; it felt 
that “noblesse oblige” and behaved accordingly. 
Its acts have been so high and admirable that 
mankind instinctively adopted it as the natural 
and essential symbol of lofty thoughts.” 


Instiuction. 


Command of execution. 


No. 1 feint one, two, disengaging at' 
the “flank.” 

No. 2 parry Tierce and Sept, and 
riposte with a feint at the 
“rightas No. 1 recovers, 
and as he parries Counter 
Quarte, disengage at the 
« flank.” 


No.l Attack— 
On Guard. 


No. 1 feint at the “ flank,” and dis¬ 
engage at the “ right.” 

No. 2 parry Seconde and Prime, 
and riposte with the feint 
at the “ flank,” as No. 1 re¬ 
covers, and as he parries 
Quinte, No 2 will turn the 
hand up and disengage at 
the “right.” 


No.l Attack— 
On Guard. 


No. 1 feint one (at the “ right ”), two' 
(at the “left”), and double 
disengage at the “left.” 

No. 2 parry Tierce, Counter Tierce, 














60 


FENCING. 


“The list of the attributes which have been 
conferred upon the sword includes nearly all 
the generous aspirations of which the heart is 
susceptible; and it possessed them not merely 
in its representative capacity as an emblem, 
but to a great extent also in its effective being 
as an achiever. The proverbs of all nations 
speak of it with reverence and trust, and was 
everywhere regarded as the token of the higher 
sentiments and higher tenderness of men.” 


Instruction. Command of execution. 

and Quinte, and riposte with No. 1 Attack— 
a feint at the “ right ” as No. | On Guard. 

1 recovers, and as he parries 
Counter Quarte, No. 2 will 
double disengage at the 
“right.” 


Twenty-ninth Lesson. 


Engagement of Tierce. 


No. 1 feint one (at the flank), two 
(at the right), and three (at 
the flank). 

No. 2 parry Seconde, Tierce, and 
Counter Tierce, and riposte 
with a feint at the “ left” as 
No. 1 recovers, and as he - 
parries Counter Tierce, No. 

2 will avoid this parry and 
feint at the “ left;” and then 
as No. 1 parries Quarte, No. 

2 will disengage by a cut 
over the point at the “right.” 


No.l Attack— 
On Guard. 















FENCING. 

61 

“The sword has inspired poets, bards and 
troubadours; it was the theme of glorious song, 
the burden of true tale, the subject of strange 
ropiance. The blood which dripped from it did 
not defile it; it remained almost unceasingly 
and almost universally ‘the good sword.’ Its 
fair fame never faded except for short, rare 

moments.” 


Instruction. Command of execution. 

No. 1 feint at the “left,” and as No. ' 


2 parries Counter Tierce, 
No. 1 will Counter Disen- 


gage. 


No. 2 parry Quarte and riposte with 


a feint at the “ right ” as 
No. 1 recovers, and as he 

No.l Attack— 

parries Counter Quarte, No. 

2 will avoid this parry and 
feint at the “right;” and 
then as No. 1 parries Tierce, 

On Guard. 

No. 2 will disengage by a 
cut over the point at the 


w left.” 


The Sabre. 


The attack and defense with the foil is the basis for 

that of the sabre. 


The Guards with the sabre are formed in essentially 
the same manner as with the foil in Tierce, Quarte, 
and Seconde; the left hand, however, is placed on the 
hip to avoid cutting the arm in the moulenet. 










FENCING. 


& 


“The sword has represented almost all the 
ambitions, the exaltations, and the prides of 
men. Fame, courage and glory; rank, dignity 
and renown; greatness, victory and truth; 
majesty and honor,—have all been incarnated 
in the blade of steel, have all been contained 
in the suggestive ideas which it conveyed.” 


The ordinary guard is Tierce. The edges of the 
sabres are in contact. 

The points of attack are the same,—at the “ right,” 
“left,” and at the “flank.” Blows, both points and 
cuts, are delivered with the thrust and development, 
direct or by disengagement. 

The attack is begun by feints, or by attacks upon 
the weapon. 

In delivering the point at the “right” from the en¬ 
gagement of Tierce, the sabre is turned, the edge up, 
the back of the hand to the left. 

The parries are Prime, Seconde, Tierce, Quarte, and 
Demi-circle, and, against points, are executed in the 
same manner as with the foil. 

Against cuts at the head, the hand, in parrying 
Prime, Tierce, and Quarte, is raised so that the sabre 
affords the required protection, 

Cuts are made with the point of the sabre and by 
a motion of the wrist alone, raising the sabre as little 
as possible. With a keen edge slight force will inflict 
a fatal cut. 

From the ordinary engagement of Tierce the first 
cut would be made at the face or right of the head, 















& 







V 

is 

* 


* 











































% 



































/ 


# 





• I 











5 




















FENCING. 63 


“ And yet the immensity of its position did not 
save the sword. All its magnitude of meaning, 
all its significance of symbol, all its accumula¬ 
tion of elevated thoughts served for nothing. 

They cannot be forgotten, but they go further 
back from us each day. The poetic aspects of 
the sword have already become legendary: no 
one selects it as a figure now; it is a sword in 
our time, and nothing else.” 

and parried with Tierce. Or, the cut may be at the 
left of the head by raising the hand, turning edge of 
the sabre to the left as it is launched beyond the an¬ 
tagonist, making the cut in drawing the hand back. 
The parry against this cut is Prime. 

The cut at the right “flank” would be parried by 
Seconde. 

/ 

From the engagement of Quarte the first cut would 
be at the face or left of the head and parried by 
Quarte, or at the right of the head by raising the 
hand, turning the edge to the right as it is launched 
beyond the antagonist, making the cut in drawing the 
hand back. 

The cut at the left “ flank ” would be parried by 
Seconde. 

The cut at the leg is best avoided by withdrawing 
the leg, at the same time extending the point. 

The most effective parries are Prime and Seconde. 

The most effective ripostes are with the point after 
Tierce parry, with the cut after Prime. 








64 FENCING. 


“The change which has fallen on the sword is 
not a mere cessation of business—it is a stop¬ 
page of life. It is no longer either a weapon or 
an idea: we no longer fight with it, we no long¬ 
er think with it, we no longer respect it. It 
had remained from the beginning until yester¬ 
day ; and then it became mortal and died. It is 
gone; and when we stand in armories and gaze 
at the relics which testify what it once was, we 
say, with a sigh, “A great soul has passed out 
from among us.” 


The End of the Good Soldier. 


Death at his portal came to knock, 
With sudden call,— 

Saying, “Good Cavalier, prepare 
To leave this world of toil and care 
With joyful mien; 

Let thy strong heart of steel this day 
Put on its armour for the fray,— 

The closing scene. 

“Since thou hast been, in battle-strife, 
So prodigal of health and life, 

For earthly fame, 

Let virtue nerve thy heart again; 
Loud on the last stern battle-plain 
They call thy name. 








I® 


FENCING. 


65 


“The knights are dust. 

And their good swords are rust; 

Their souls are with the saints, we trust.” 

“Think not the struggle that draws near 
Too terrible for man,—nor fear 
To meet the foe; 

Nor let thy noble spirit grieve, 

Its life of glorious fame to leave 
On earth below. 

“A life of honor and of worth 
Has no eternity on earth,— 

’Tis but a name; 

In heaven shalt thou receive, at length 
The guerdon of thine earthly strength 
And deeds of fame.” 

* * * * * 

As thus the dying warrior prayed, 
Without one gathering mist or shade 
Upon his mind; 

His soul to Him, who gave it, rose; 

God lead it to its long repose, 

Its glorious rest! 

And, though the warrior’s sun has set, 
Its light shall linger round us yet, 
Bright, radiant, blest. 































































* 
























A NEW TREATISE 


FENCING WITH FOILS. 


• COLONE^ JOHN C. KELTON, 

ASSISTANT ADJUTANT GENERAL, U. S. A. 


‘You should have seen him as he stood 
Fighting for his good land. 

With all the iron of soul and blood 
Turn’d to a sword in hand.” 


PRINTED AT 

THE PRESIDIO OF SAN FRANCISCO, CAL 

1882. 































































. 






































> 

ISP 

X 


5 


> 


> 


> 

















































































